Very lovingly and thoughfully played as usual. No mistakes, and nothing to grumble about except the tempo... Why slow like a funeral march ? 'Mesto' does not imply Adagio. You take almost a minute longer than Rubinstein (who is no slouch, I must admit). In the middle section you speed up to a more conventional tempo, but the reprise is again yawn-inducingly slow. But ok, if that is how you feel the piece, don't change it.

Regarding tempo I only like to add that the autograph has "Mesto" mark. The Fontana copy, the French and the English first editions have "Presto" marking instead!
Anyhow I like the slow mode too, however I would be surely not bad to speed up in the appassionato section. It really does not sound appassionato here.

Interesting, that there are some note differences too between the sheetmusicarchive score (which you seem to follow) and the Henle Urtext I have. In bar 2 (and bar38) there is no binding over the g#, but a binding in bar 4/5 (and bar 40/41) for the d# in the Urtext. Even in the critical remarks where all score differences are listed, those differences were not noted!?

However, according to both different scores you missed the LH chord in bar 30. Beside this, nothing else to niggle note wise.

Regarding tempo I only like to add that the autograph has "Mesto" mark. The Fontana copy, the French and the English first editions have "Presto" marking instead!

Well that is a laugh Surely some dimwit editor without any idea about music thought there was a spelling mistake here and changed it. But Mesto just means "sad" and is not a tempo indication in itself. I think this piece would sound totally ridiculous when played Presto.

MindenBlues wrote:

However, according to both different scores you missed the LH chord in bar 30.

Damn ! I should have noticed that Not doing a very good job of niggling these days.

But ok, I have something else: the little 16th rest in bar 4 (and corresponding bar in the reprise). You make it far too long which sounds a bit strange to me, as if you've momentarily lost it. It kills the rhythm too.

Thank you to all of you who commented on the way I played this regarding sensitivity, touch and feel. I am honored that you noticed these elements, but I would like to explain something.
I have never heard anyone play this piece before, so the interpretation was all mine. However, the day I sat down to record it was a day when I was in a very ‘blue’ mood. I literally poured my sad heart out in every note, which made my “Mesto” too slow. I guess my emotions overruled my brain (I think Chopin would understand.) Today my mood is much better (the Chicago Bears won yesterday. Yea!) and the world is much brighter, so I am a different person at the piano. You don’t have to listen to this again, but I would appreciate it if the powers that be, here, would swap this recording with the first one. Also, the missing chords are back where they belong.

_________________"Simplicity is the highest goal, achievable when you have overcome all difficulties." ~ Frederic Chopin

Yes, your 2nd version sounds happier. And clear and precise what is a "trademark" of your playing style.
Regarding the tempo/mood marking "mesto" (autograph) and "presto" (Fontana and derived first editions) I checked again the critical remarks of the Henle Urtext score. They assume too that "presto" is a reading error by Fontana, so "mesto" seems to be what Chopin intended.

So maybe it sounds more mesto after the Chicago Bears loose a game?

Yes, your both versions differ but both have their own advantages - we should have both on the site!

We have one more game, the Superbowl game in two weeks. Whatever the outcome, I should not play the piano afterwards, since I play so differently depending on my mood.

Oh no, please don't change your approach - I find it great that the current mood influences the interpretation!
That shows that you liberate yourself from beeing busy to hit the right notes towards the approach to express the feelings, what is a level above. I think that is the right way, especially for those romantique music. That's why I also like your citation from Chopin below your statements so much - that he used to tell his piano what and how he feels.

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